Cosmic Talents opens London office with Gabrielle de Cevins
Paris-based Cosmic Talents is opening a London office with Gabrielle de Cevins as its U.K.-based agent, Variety reported on 5 October 2026. She will lead the new office. The announcement puts the craft agency on both sides of the Channel.
De Cevins brings eight years of in-house production experience to the role, according to the same report. That means eight years working inside companies that develop and produce films. She spent the last four years at The Bureau, a feature-film production company based in London. It is a practical background for an agent.
In London she will oversee representation of directors of photography, production designers, costume designers and editors across the U.K. market. The brief covers both features and commercials. Directors of photography lead camera and lighting. Production designers shape sets and locations, costume designers create the clothes, and editors assemble the final cut.
Cosmic Talents represents international heads of department. That is industry shorthand for the senior craft leaders hired to run each department on a production. De Cevins will work with Paris-based agents Marie Berg, Elodie Vongdara and Andréa Bernard, Variety reported. Berg is managing director and agent at the agency.
The company's contacts page lists a Soho - London location and names de Cevins as Agent, according to Cosmic Talents. Soho sits in central London, close to edit houses, production companies and advertising agencies. For a roster working across film and commercials, that address keeps clients within easy reach.
For readers outside the film business, the work is easy to picture. Agents find jobs, make introductions and negotiate terms for their clients, much as actors' agents do for performers. A producer planning a feature or a commercial will call about availability, money and dates. Having an agent based in London means those conversations happen in the same city and time zone.
What makes this stand out is the mix of experience. Four years inside a London production company gives de Cevins recent, local knowledge of how crews are hired. Eight years in production in total gives her a longer view of schedules, budgets and delivery. Both help when matching cinematographers, designers and editors to the right jobs.
